The fantasies and dreams of two over-the-hill actresses are intertwined with their realities, as the two roommates struggle to survive their day-to-day lives in the expensive and difficult world of Paris.
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3,5 If the road to oneself demands elliptical detours with higher apsis being equivalent to the highest estrangement, then actors hold tiers of rings of Saturn wrapping that ultimate unreachable nucleus. Sonia is an exfoliating actress: she blossoms by opening leaves (accepted roles) out of her centermost and lessens with each scaled and faded lamina, bcoz every part eats at her in a cycle of plenitude and permanent
bats in the closet, lizard on the bed sheets, the best worst comb-over in all of cinema, the most ecstatically "happy end"-ing followed by the most shattering and horrifying one — the best film about friendship I've ever seen is a musical where innumerable empty champagne bottles and photos of matinée idols litter the mise-en-scène like polite corpses
If the grotesque proceedings in a symbiosis fallen from the heights of the sublime (brilliantly conveyed in the pinned photographs on the wall) alienates, this should not deter appreciation of the fact that rarely has the horror of (zoological) self-observation reached levels of precarity between anarchic chaos and pragmatic playfulness as antidotes to the weight of the (lost) world. Persona's lustre undone.
Sous de fallacieuses et trompeuses apparences de légèreté et de fantaisie,
ce subtil chef-d'oeuvre de Paul Vecchiali rumine et accumule une permanente dramaturgie en catimini et en souffrance, entre mélancolie, poésie et détresse, avec une superbe interprétation du "couple" Hélène Surgère / Sonia Saviange, actrices étonnantes de finesse et de présence, complices de bien des films du cinéaste... www.cinefiches.com